BHIMBETKA : THE GLIMPSES OF

INDIAN ROCK- ART

IN A WORLD HERITAGE SITE

Bhimbetka - a spectacular rock-art site in India. The rocky terrain covered by dense forest surrounded by the northern fringe of the Vindhyan range in the Indian state of Madhya Pradesh. Bhimbetka rock shelter complex exhibit the earliest pictorial traces of prehistoric man’s life in Indian Sub-continent.

Bhimbetka is a natural art gallery-complex of prehistoric man and a mysterious land of hidden archaeological treasures. The Extravagant Rock-painting and archaeological treasures of the pre-historic site amaze us. The rock-shelters of Bhimbetka are an invaluable chronicle in the history for tracing the genesis of human civilization.

The celebrated rock-art site of India of Bhimbetka is the earliest evidence of rock- painting of the pre-historic era. Bhimbetka cave and rock-shelter - complex were inhabited by early ancestors of modern man. At least for last one hundred thousand years or even more groups of early man had continued their living in different periods under the chain of natural rock shelters.

For miles together, the footsteps of the pre-historic man can be easily discerned upon the sands of time, since the caves and rock shelters were inhabited by ancestors of modern man from as early as more than two hundred thousand years ago. The life and activities, aspirations and struggle of early man of different periods as expressed in their paintings – in the idiom of visual narratives imprinted on rocks.

Bhimbetka rock-art-site is situated in Madhya Pradesh - on 22’56’North and 77`36’east and 45kms south of Bhopal and 30 km northwest of Hoshangabad town on Obaidullaganj – Itarsi national highway. The nearest township of the rock-site is Obaidullaganj – about 7kms. North from the site along the highway extended towards Bhopal city. The huge fort-like projected rocks of Bhimbetka are visible in the western horizon from the highway.

The rock-shelters of Bhimbetka lie in the Raisen District at the southern edge of the Vindhyan hills--- the uppermost peak of Bhimbetka hill is 619 meter in height from sea level. Narmada River flows about 45 km. south of these Vindhayan ranges. Vindhya range lies in the north and Satpura range in the south. Between the two ranges, river Narmada flows gently. Amidst lush greenery in dense forests, stretch of rocky terrain and craggy cliffs, as if lofty rocks guarding the most ancient premises.

Bhimbetka owes its name to the characters of the epic Mahabharata-----It is believed that when the five Pandava brothers were banished from their Kingdom, they came here and stayed in these caves. The massive rocks are believed to be the gigantic frame of seat for Bhima, the second Pandava. Further evidence, cited in support of this myth, is the resemblance in names of the nearby places with the names of the Pandavas is known as - Pandapur. While nearest village Bhiyanpura itself is believed to be a distortion of Bhimpura. The legend of the epic - Mahabharata is thus intimately connected to the site.

Bhimbetka was first mentioned in Indian archeological records in 1888 as a Buddhist site. In 1957-58 an intrepid archaeologist Dr. Vishnu Wakankar had explored the Bhimbetka caves and reported this great archaeological discovery. Although the whole complex was not unknown to the local villagers----- pilgrims used to assemble on the hilltop for annual fair and festivities during Shiva Ratri celebration held in the month of March. For more than a century a temple is located on the top of the hills surrounded by painted rock shelters. Baba Shalik Ram Das – a shaivite monk and a medicine man had maintained the temple. He was a great inspiration to the archaeologists for initiating archeological enquiry when it was first visited by early group of scholars including the present writer.

The painted caves of Bhimbetka here in true sense the gateway of the ancient gallery which preserve the fascinating paintings dating back to the Paleolithic Age. Bhimbetka is the biggest cluster of shelters of the Pre-historic cave-dwellers from Shyamla hills area near Bhopal lake - a chain of rock art sites are extended towards south all along the course of River Betwa and its tributaries. The chains of sites ultimately meet Narmada River near Hoshangabad - about 60 kms further south from Bhopal. Bhimbetka hill is almost in its middle part of the chain of sites. Similar painted rock shelter and caves are also present all along the ‘S’ like twisted course of Betwa river and its entire valley. Other rock art sites near Bhimbetka are located within inaccessible forest and wildlife sanctuaries.

The tradition of early rock-art in India has a long historical back-ground. Beside its maximum concentration in central India, Other pre-historic and early rock-art sites in India are widely distributed in Northern, Western, Eastern and Southern part.

Early rock-art-sites are also found within mountainous part of Jammu and Kashmir, Himachal Pradesh, Uttar Pradesh, Rajasthan, Gujarat, Maharashtra, Andhra Pradesh, Karnataka, Tamil Nadu and Kerala. Similar rock art is also reported from Chhatisgarh, Bihar, Jharkhand, West Bengal, Orissa and also in Manipur.

In the year of 1883 Archibald Carlyle first time discovered a rock-art site in the Kaimur range of Uttar Pradesh. J. Cockburn ----a pioneer in the field of Indian rock-art had reported in the journal of Asiatic Society of Bengal about the existence of hunting-scene as the ‘archaic rock-painting’ in Mirzapur. He also explored cave-drawings of Kaimur region in Uttar Pradesh.

The primary problem for understanding the content of Rock-art in India is the absence of any standardized and detail documentation of the rock-art and accounts on the site proper.

The largest parts of the rock-art of India are concentrated in the Central Indian plateau region specifically in mountainous part of Vindhya and Satpura ranges in the neighboring areas of Narmada River and its tributaries like Betwa River where Bhimbetka is located.

The utmost concentration of rock-art sites in this region was primarily due to its unique geo-environmental set-up, this was favorable for genesis of early human culture. All the rock shelters and caves are natural formations mostly on the red sandstone hills. Besides that, the forest habitat-inaccessible mountains were suitable for habitation in all periods. Sustenance of early hunter-gatherers and their presence in this area is evident with discovery of early human fossils, their stone tools burials and other artifacts. From hunter – gatherer, pastorals to subsequent emergence of incipient or marginal farming communities - all phases had evolved periodically and were suitably nurtured in this cradle of mankind.

In the year 2003, United Nation’s organization UNESCO had declared Bhimbetka as a World Heritage Site. That international recognition had rendered added attraction for tourism and other promotional activities of the site. Two principal criterion for such declaration by UNESCO were :

1. Bhimbetka reflects a long interaction between people and the landscape, as demonstrated in the quantity and quality of its rock art.

2. Bhimbetka is closely associated with a hunting and gathering economy as demonstrated in the rock art and in the relics of this tradition in the local adivasi villages on the periphery of this site.

It is significant that in India, the maximum concentration of tribal Populations is in the state of Madhya Pradesh. The environmental set-up, habitation, ethnicity of local tribal societies like Gond, Muria, Korku, maintain their traditional lifestyle, norms and values with necessary developmental changes.

The rock-art of Bhimbetka-as well as other two principal representative site-complexes in central India are : Pachmarhi and Adamgarh had originated during the last climatic phase of Pleistocene epoch. Then the art tradition successively continued during Mesolithic, Neolithic, Chalcolithic to later early historic periods.

Pachmarhi is situated within the mountainous range of Satpuras and Mahadeo hills---located about 1,100 meters above Sea-Level. In Pachmarhi, within about 100 square km area at- least 22 clusters of Rock-shelters and caves contain well-preserved painted Galleries. Pachmarhi rock-art-shelter had originated during the earliest phase of Mesolithic epoch.

Adamgarh is located close to the Southern bank of River Narmada, near Hoshngabad Township. In Adamgarh, twenty painted rock-shelters are scattered over an almost deserted sandstone cliff within a total area of about 4 sq. km. The painted rock-art site of Adamgarh was inhabited by early man during Paleolithic and Mesolithic periods. This has been traced from the excavated materials from the rock-art-site.

Bhimbetka rock-art-site covers an area of about 30sqr.kms. The site has at least 700 rock-shelters of which about 55% contain paintings. Such shelters have been identified, of which 243 are in the Bhimbetka group and 178 in the Lakha-Jore group. Archeological studies revealed a continuous sequence of Stone Age cultures as well as the world’s oldest stone walls and floors there.

Bhimbetka- is considered as one of the earliest primitive Rock-art site of the World. This rock-art-site had originated during the early cognitive development of Mankind. Several cup-marks and meandering line on a huge boulder is considered as of great antiquity. The marks are noticed in auditorium-like spacious natural hall at the present-day. Internationally renowned rock art expert Dr. Robert G. Bednarik and some of his followers had identified those cup marks as the earliest evidence showing ability for symbolic development by mankind.

The rock art of Bhimbetka has been classified into various groups or layers on the basis of the style and Subject. Bhimbetka rock shelter indicate an assortment of several Pre-historic epochs---- this rock-site had originated during a long period like Upper –Paleolithic, Mesolithic, Chalcolithic- to early historic phases respectively.

The superimposition of paintings shows that the same canvas was used by different people at different times.

In Bhimbetka rock-art site- total numbers of motifs-figures and scenes are enumerated as 6214 . Painted caves and rock shelters of this site the chronicle of art are divided in nine phases altogether. Among the nine phases, the earlier five phases are Pre-historic, depicting the life and the environment of the hunter – gatherers.

Famous Artist and Archaeologist Dr.Yasodhar Matpal had taken an account of the numerical details of the types and style of the cave-painting of the Bhimbetka rock-art-site. Dr. Mathpal had estimated the date of rock art as about twelve thousand years B.C.

Resembling of other rock-site in Bhimbetka there has two types of Motif - figurative- motif and Non-figurative-motif. The arrangements of figurative-motifs are as follows :

923 motifs of Anthropomorphs; 567 motifs of Anthropomorph with Zoomorph ; 825 motifs of Hand & Finger prints ; 693 motifs of Anthropomorph with Artifacts ; 24 motifs of

Artifacts ; 50 motifs of Phytomorph or plant figures ; and 1983 Motifs of Zoomorph.

Motifs and figures of Bhimbetka were evolved different Style and concept in different epoch. Paintings of the earliest layer – i.e. upper- Paleolithic phase mostly represent larger figures of wild animals either depicted in red-ochre, white or in grey colour. Large size animals like Buffalos, Elephants, big cats, wild bovid which are outlined and partially filled with geometric and labyrinth patterns. Only few human figures are seen in this phase.

In the second phase, in Mesolithic layer of the paintings, naturalistic figure of animal and human interaction is depicted. The motifs and figures of second phase or Mesolithic Period are comparatively smaller in size.

In a particular rock-shelter, a gigantic boar is portrayed on top. . The depicted mythical boar with horns is much larger in dimension than the human beings shown in confrontation. Several figures representing wild boar and its hunting by archers are painted in dark red colour.

In Bhimbetka rock-art-site the greater number of earlier depictions is of Hunting-sequences. Such scenes portray individual and group-hunting.

Large mammals were attempted for deliberate group-hunting. The scenes or motifs of the group-hunting seem to have continued for generations till early historic period. Clear drawings of the weapons like barbed spears, pointed sticks, snares, nets and bows and arrows are observed that were frequently used for hunting.

Large size animals with vertical strips drawn within the body contour are found. Also there are evidences of some human figures in Chalcolithic period that are mostly schematic and simplified in forth phase. In Phase five the animals and figures were drawn with a complex decorative pattern. The large-horned animals are painted with fine thin lines with their body filled in zigzag and concentric square patterns.

The depiction of the motif or scenes communal dances in Bhimbetka rock-shelters appear in rhythmic movement - an emerald green figure is also found which is a S-shaped human body in dancing position. The group dancers are painted in thick red and white colors. The depicted motifs-figures of dance-scenes in rock-site of Bhimbetka are similar to traditional community dance-style of local Gond – speaking tribal communities.

The motifs or figures of horse and horse-riders in the rock-art-site represent the direct influence of its connected myths and legends which later had influenced the folk-art and art of local tribal communities in Central and Western part of India. Among those tribal societies- horse is considered as the most appropriate seat for an honourable person and so it convey the Symbol of might, authority, power and prestige.

In Bhimbetka rock-art-site we find the series of depiction of the Battle-sequences. It’s a remarkable concept in the field of rock-art. Similar Battle-scenes are rarely present in rock-art of the other parts of India. In this rock-art-site the 377 numbers of depictions are of the Archers and other armed guards. In the battle-sequences the motif of individual warriors and other Compositions are representing the group-conflict, violence and inter-ethnic or intra-ethnic struggle.

The uppermost layer or the final phase of paintings depict geometric human figures and designs and also various known religious symbols and conch – shell or Sankha inscriptions.

This early primitive rock-art-site represents a community which was closely similar to cotemporary tribal societies-especially the marginal cultivators.

In this rock-site the depiction of umbrellas is associated to both dances-Scenes, rituals and to cover the head of the horse-riding warriors. It is also revealed from the rock painting of Bhimbetka that the economy of the society was possibly in transition----besides food-gathering they reared selected types of domesticates such as cow, buffalo, goat and sheep. No direct pictorial evidence for settled agriculture or use of plough exist. Collection of honey and seasonal fishing were their other sources for subsistence as evidence in the rock-painting of the adjacent regions.

Various types of musical instruments including horns, pipes, different Types of drums and tom-toms are depicted in the Bhimbetka rock-art-site.

In Bhimbetka, palm prints, thumb impressions, hand stencils and finger markings are plenty. Such symbolic representations are also common to the local tribal household that is believed to protect themselves from evil-power.

The rock-art-site of Bhimbetka is a unique resource for representation of the genesis of early human culture and the evolution of ecological-milieu of successive pre-historic era and thereafter. The attitude of the artists is reflected in their nature of execution----sometimes in the compositions of the rock-paintings, the dimensions of certain motifs are consciously exaggerated to mark a special note and emphasis.

During Mesolithic period, Hunter Gatherers buried their dead corpses within their habitation areas, particularly within caves and rock shelters. The dead bodies usually buried either in extended position or in crouched position with head directed to the east or west. Stone and bone tools, red ochre nodules, antlers were placed within the burials. Usually body parts were chopped or disintegrated. Charred bones and antlers, charcoal, use of fire and frequent presence of microlith stone tools, animal bones with incision marks are prominent. Within burials, entire skeleton was covered with stone boulders sometimes due to heavy pressure of such boulders, the vulnerable parts of the skeletons were broken. Fire was used during burial rite – in a particular burial a chunk of animal meat was offered to the deceased corpse. Total seven individual skeletons or its parts have been recovered during excavations. I would like to mention two absolutes Carbon 14 non-calibrated dates ) from Tata Institute of Fundamental Research Laboratory.

1. Sample no : PRL 49 BHIMBETKA III F-14 BURIAL OF HISTORICAL PERIOD : 2045 + - 110 YEARS

2. Sample No : 50 BHIMBETKA III F-14 BURIAL : 5855+ - 110

Paintings are usually exposed to extreme hot and open humid condition within its natural forest location. Such climate fast degenerate the organic paint, its pigments and other components. The other natural source which is threatening the painted galleries is the lichens and fungus that easily grow and spreads its patches on painted rocks. Colony of termites and other nests of various insects are other common natural threats for the existence of such art galleries of great antiquity. Periodic human interference either by the local villagers or visitors from outside also damages painted rock shelters. They write their names, make graffiti even on such rare paintings causing irreparable loss of our valuable cultural treasure. Forest – fire is common is this region and protection from any such sudden devastating fire is also essential for proper maintenance of the site. It is important to note that in this region during summer, firing of weeds, bushes and clearing of forest land with fire before cultivation is usually practiced.

The pre-historic artists did not paint all available rock-shelters within a locale. They had intentionally selected a few but suitable rocks-shelters which were more accessible for communication and display to the viewers. Bhimbetka – the unique rock-art-site of India is the early visual language of the early primeval Society which had gradually transformed into Pictorial-narratives for their self-identification.

Dr. V.S.Wakankar and some of his followers had proposed that paintings in green colour were the earliest. But such green paintings are rare in the entire region. The source for green paint was mostly herbs. The other raw materials for paints were collected from natural pigments primarily from the extracts of stones and minerals. For obtaining different shades of red colour, Haematite nodules or red ocher were rubbed. During excavation, such rubbed pieces of haematite nodules were found from the earlier layers. Sometimes such nodules and pigments were found within the burials being associated to early skeletal remains. White paint was either prepared from lime stone or from ash. Black colour was prepared from charcoal or Manganese ore. Sticky glue extracted from plants often mixed with animal fat and other ingredients was used as binding material for the paints before its application. Applicator or brushes were prepared from bunch of soft animal hair was tied to the end of a stick. Similar brushes were also prepared from fiber by chewing the end of bamboo twigs. A thorough study on individual paintings have revealed that lump of chalk or any such dry crayon like pigments which produces irregular lines were not suitable for such finer and permanent linear marks that was essential for such drawings.

In Bhimbetka, engraved figures are most rare. Although engraved figures are common in Pachmarhi and several other sites in Central India.

During excavations, availability of rubbed Haematite nodules within the floors from which red colour was extracted for paintings confirm the prehistoric origin of this art tradition. The other testimony is the presence of harpoon as an essential weapon for the hunters as revealed in rock paintings. Similar tiny microlithic stone tools were found in huge quantity from excavations. Such evidences confirm the view that in Bhimbetka rock art was initiated by prehistoric stone tool users.

Till today some remnants of walls and arrangements of similar stone slabs on occupational floors co-exists in rock shelters. Such structures were also found during excavations suggesting that narrow space within rock shelters were further divided into smaller compartments for habitation. Stone tools were manufactured in courtyard – like open space on the openings of such natural shelters. Traces for use of fire and charred bones of wild animals were recovered in layers below the floors of rock shelters.

Some scholars suggest that in Bhimbetka the earlier habitation was mostly seasonal as the hunter – gatherers were always nomads. There is acute crisis of water in the hill proper. The Bainganga nala – a narrow rainwater channel in the eastern foothill area do not contain much water during dry seasons. Actually Bhimbetka is one of such chain of sites for prehistoric habitation which is widely extended in both northern as well as southern part of Narmada Valley.

Rock art is an indispensable source to delineate the ethnic history of any region. History generally narrates the textual details of Royal society, feudal lords, praising their might and activities. It remains almost silent on the life and activities of common people, their aspirations, views and constrains in everyday life. The pictorial narratives in rock art are repository or testimony for spontaneous expressions by early rural folk. In Bhimbetka, such rare tradition of earliest symbolic communication had continued in successive periods from prehistoric era to ancient historic epochs.

Our story ends here but our intensive search for the past will continue. Let us explore further opportunities to fulfill our knowledge. I firmly believe that the lesson from our past is essential to enrich and improve our future.

Dr. Somnath Chakraverty

Kolkata. India.

E-mail Address : somraja2008@gmail.com

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